A towering work in which John Neumeier celebrates not just the great dancer choreographer but also ballet itself, electrifying adult fantasia Nijinsky makes a very welcome return to the Melbourne stage.
A year after the world premiere of Oscar, Nijinsky proves an excellent companion piece, both works unfolding dreamlike memories for a distinctly adult audience whose sophistication sits well above traditional storybook ballets. Intricately crafted with myriad interwoven layers, the work more than stands up to repeated viewings, with audience members sure to uncover new elements each time.
Beginning with an open curtain, the stage slowly comes to life as guests gather at Suvretta House Hotel in St Moritz, Switzerland in January 2019 for a solo performance from the great Vaslav Nijinsky. Nijinsky’s final public appearance begins as it would have that day, with onlookers unsure whether to gasp or applaud. In short measure, the realistic set dissolves away and Nijinsky loses himself in a surreal cavalcade of life and stage memories.
A theatrical auteur at the height of his powers, Neumeier not only conceived and choreographed Nijinsky, but also designed the set, costumes, and lighting. The work can be appreciated simply for its sheer beauty and entertainment value, with the darker psychological elements adding intriguing and affecting depth.
The solid, completely realistic setting for Suvretta House gives way to simple, abstract scenic elements reflecting staging for Nijinsky’s original works. Amidst visions of Nijinsky’s iconic roles such as Harlequin, the Faun, and Petruschka, Nijinsky’s tempestuous relationships unfurl.
Sister Bronislava and brother Stanislav, both dancers, weave through the recollections, leading to the searing tragedy of Stanislav’s death in World War I. Enjoying a sexual relationship with Sergei Diaghilev of the Ballet Russes, Nijinsky is pursued by Romola de Pulsky, seen here as a slinkily seductive figure in scarlet. Nijinsky’s marriage to Romola sees him spurned by Diaghilev and cast out from the Ballet Russes.
Maestro Jonathan Lo leads a magnificent performance from Orchestra Victoria, the music sounding richly warm and vibrant in the Regent Theatre. The orchestra dextrously performs a seamlessly blended score featuring the music of Chopin, Schumann, Rimsky-Korsakov, and Shostakovich, Shostakovich’s Symphony No. 11 in G minor plays out in full through act two. Dynamics are a clear feature of the musical performance, shifting from incredibly delicate strains to crashing climaxes.
Principal artist Callum Linnane returns to the title role to lead the opening cast in a truly thrilling performance. Linnane can surely be said to have left himself on the stage, tirelessly dancing the epic role in a range of styles and compellingly projecting a swirling multitude of emotions. From his first entrance, Linnane displays power in stillness, later representing mental anguish through physical distortion, deftly returning to nimble youthfulness when Nijinsky recollects his early work.
Maxim Zenin elegantly dances Sergei Diaghilev with sharp, rigid precision, clearly conveying the imperiousness of the lustful titan.
Grace Carroll brings beautiful humanity to Romola Nijinska, displaying her unwavering devotion to Vaslav with sinuous elegance. The extended duet between husband and wife is at the heart of act two, providing a clear highlight for the ballet.
A second powerful highlight of act two comes with the stunning work of Elijah Trevitt, who effectively dances the wartime death of Stanislav.
Jill Ogai takes Bronislava on a stirring arc from dancer to choreographer, the character also affected by the death of her brother, if not as dramatically as Vaslav with his fragile mental health. Ako Kondo is reliably the picture of graceful elegance in the featured role of The Ballerina.
A trio of top talents recreate key roles remembered by Nijinsky, each impressively marrying their style to that of Linnane himself, dancing in perfect synchronicity with him when required.
Marcus Morelli is a lively Harlequin before bringing a distinct masculine edge to the pale pink costume for The Spectre of the Rose.
Jake Mangakahia shines in a pair of featured roles, sharing a charming duet with The Ballerina as the Golden Slave, later thrilling in a terrific trio as the Faun dances with Romola and Nijinsky.
Brodie James skilfully flips from the comical playfulness of Petruschka to the touching melancholy of the sad clown.
Casting for Nijinsky calls upon a huge contingent of the company, the stage full to overflowing for the final curtain call. Just the fact that Neumeier permits the work to be performed by The Australian Ballet is a compliment to the company, the immaculate standard of the dance and music more than living up to his well-placed faith.
As with the 2016 Australian premiere performance, this opening night was greeted by an instant rousing standing ovation. Enjoying pristine staging and superb performances, Nijinsky is sure to thrill and reward audiences again in 2025.
Nijinsky plays at Regent Theatre, Melbourne until 1 March 2025. For tickets, click here.
Nijinsky plays at Joan Sutherland Theatre, Sydney Opera House from 4 April 2025. For tickets, click here.
The Nijinsky cast list can be read online.
Man in Chair attended Nijinsky as the guest of a Melbourne arts patron.
Photos: Kate Longley